Cult Films THE 124 - Summer Session II.
A cult film is characterized by the dissemination of social normalcy by operating within a metonymical framework infused with social taboos that question a social conformity. The range of social taboos challenged by cult films are endless, but is clearly illustrated in films that question sexual orientation value systems. This conceptualization is exemplified with cult films that blur the distinction between man and woman by portraying homosexuals, lesbians, bisexuals, cross-dressers, transvestites, manlike women, and womanlike men. The visual presentation of such imagery violates the primordial ability to differentiate between the sexes, and embodies the fundamental characteristics of a cult film. Although the inability to distinguish a sexual identification can be observed in films from all eras it is most profound when contrasted to the late 1950's and early 1970's American society.
The 1950's are characterized as a banal conformist society scarred with the conclusion of WWII, suburbia lifestyle, nuclear energy, the cold war, limited Human Rights, and McCarthyism. This value system denied sexual exploration and rigidly defined sexual orientation with governmental control. This McCarthyism value system was threatened with the first publicized sex change.
"The big news in February of that year was the return to the States of first publicized sex-change operation. New Yorker George Jorgenson got the Swedish cut-and-paste done to transform himself into Christine." .
As a result, a plethora of laws and regulations were established to govern society value system. McCarthyism claimed that homosexuality was linked with Communism and was coincidently considered a felony, the US Congress enacted a law banning lesbians, bisexuals, and gays from entering the country, The American Psychiatric Association included homosexuality as a "sociopathic personality disturbance" and President Dwight D.